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▓ █ ▀▓▀[ snakkelfatz ]▀▓▀ ▐████▌▀▓▀ ▐█████▓ ▄ ▄▄█
▒ █ ░ [ Entertainment ] ░ ▓████ ░ ▄█████▓▀ ▀▓▀ █ █
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░ ▒ █ Bert Kaempfert - His Greatest Hits █ █ ░
▒ ░ █ █ ▓ ░
▓ ▒ █ Supplier : sfE Date : Jul-05-2003 █ ▒ ▓
█ ░ █ Ripper : b0ssak1ng Style : Easy Listening ░ █
█ ▓ w/ help of : EAC/lame Trax : 24 ▓ █
█▄▄ ▒ Bitrate : 192kbps / 44,1kHz / full stereo ▒ ▄▄█
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▓ ▄ █ █ ▄ ▓
▒ █ █ [ informations ] █ █ ▒
░ █ █ █ █ ░
█ █ label : Polydor █ █
█ █ code : 827516-2 █ █
█ █ █ █
█ █ comments : █ █
█ █ bert kaempfert had almost too much █ █
█ █ talent, ability, and good luck rolled █ █
█ █ into one career to be fully appreciated, █ █
█ █ even by his own chosen audience, the █ █
█ █ lovers of fine orchestral pop music. he █ █
█ █ was one of the most successful █ █
█ █ conductors, arrangers, and recording █ █
█ █ artists in the latter field, but was █ █
█ █ also a major producer and played a key █ █
█ █ (if indirect) role in the roots of the █ █
█ █ british beat boom of the early '60s, █ █
█ █ which evolved into the british invasion █ █
█ █ of america in 1964. berthold kaempfert █ █
█ █ was born in barmbek, a working class █ █
█ █ section of hamburg, germany, in 1923. he █ █
█ █ was musically inclined as a boy, and █ █
█ █ found that interest indulged by an act █ █
█ █ of fate when he was six years old ù █ █
█ █ kaempfert was injured in a car accident █ █
█ █ and his mother used the money from the █ █
█ █ settlement to buy him a piano. he became █ █
█ █ proficient at the keyboard, and also on █ █
█ █ the clarinet and saxophone, among other █ █
█ █ instruments. he studied at the hamburg █ █
█ █ conservatory and although he was █ █
█ █ interested in all facets of music, █ █
█ █ kaempfert was particularly taken with █ █
█ █ american-style big band music of the █ █
█ █ late '30s and early '40s ù his █ █
█ █ multi-instrumental skills made him a █ █
█ █ potentially valuable commodity, and he █ █
█ █ was recruited into a pop orchestra run █ █
█ █ by hans bussch while in his teens, but █ █
█ █ was later drafted and served as a █ █
█ █ bandsman in the german navy, before █ █
█ █ being captured and interned as an allied █ █
█ █ prisoner. he founded a band of his own █ █
█ █ and later toured american military █ █
█ █ installations in germany, at last able █ █
█ █ to play his favorite kind of music. █ █
█ █ returning to his native hamburg, he █ █
█ █ began performing on the british forces █ █
█ █ network radio and writing compositions, █ █
█ █ initially using the alias of mark bones. █ █
█ █ kaempfert's reputation in hamburg █ █
█ █ attracted the attention of polydor █ █
█ █ records, which hired him as an arranger, █ █
█ █ producer, and music director during the █ █
█ █ second half of the 1950s. among the █ █
█ █ talent that he brought to the company's █ █
█ █ roster was the yugoslav pop artist ivo █ █
█ █ robic, who chalked up an international █ █
█ █ hit (top 20 in america), and viennese █ █
█ █ singer/guitarist/actor freddy quinn, who █ █
█ █ had a german hit with "die gittarre und █ █
█ █ das meer." his own orchestra generated █ █
█ █ such hits as "catalania," "ducky," "las █ █
█ █ vegas," and "explorer," but he had █ █
█ █ bolder, more ambitious music in mind. he █ █
█ █ arranged, produced, and recorded an █ █
█ █ instrumental entitled "wonderland by █ █
█ █ night," which was pretty enough but █ █
█ █ couldn't seem to get a hearing in █ █
█ █ germany, even from his own company. █ █
█ █ instead, kaempfert and his wife brought █ █
█ █ the track to milt gabler, the legendary █ █
█ █ producer at decca records in new york, █ █
█ █ who arranged for its release in america █ █
█ █ in 1959; with its haunting solo trumpet, █ █
█ █ muted brass, and lush strings, the █ █
█ █ single topped the american pop charts █ █
█ █ and turned bert kaempfert and his █ █
█ █ orchestra into international stars. over █ █
█ █ the next few years, he revived such pop █ █
█ █ tunes as "tenderly," "red roses for a █ █
█ █ blue lady," "three o'clock in the █ █
█ █ morning," and "bye bye blues," bringing █ █
█ █ them all high onto the pop charts █ █
█ █ internationally, as well as composing █ █
█ █ pieces of his own, including "spanish █ █
█ █ eyes (moon over naples)," "danke █ █
█ █ schoen," and "wooden heart," which were █ █
█ █ recorded by, respectively, al martino, █ █
█ █ wayne newton, and elvis presley (with █ █
█ █ joe dowell charting the hit single of █ █
█ █ "wooden heart"); for an old american █ █
█ █ jazz fan like kaempfert, however, little █ █
█ █ may have brought him more personal █ █
█ █ satisfaction than nat king cole █ █
█ █ recording his "l-o-v-e." at the turn of █ █
█ █ the decade into the 1960s, kaempfert was █ █
█ █ still busily at work in his duties as a █ █
█ █ producer. he was well aware that a new █ █
█ █ generation of listeners had come along, █ █
█ █ whose interests lay far from the █ █
█ █ beautifully crafted instrumental music █ █
█ █ that he favored, which were an outgrowth █ █
█ █ of the pop sides of such '40s artists as █ █
█ █ tommy dorsey, harry james, and glenn █ █
█ █ miller ù they preferred music drawn from █ █
█ █ country and r&b sources. he had signed a █ █
█ █ liverpool-based singer named tony █ █
█ █ sheridan, who was performing in hamburg, █ █
█ █ and needed to recruit a band to play █ █
█ █ behind him on the proposed sides ù he █ █
█ █ auditioned and signed a quartet from █ █
█ █ liverpool called the beatles, and even █ █
█ █ cut a couple of interesting sides of █ █
█ █ theirs, "ain't she sweet" and "cry for a █ █
█ █ shadow," during his sessions for █ █
█ █ sheridan; with its pounding beat and raw █ █
█ █ singing, the former wasn't kaempfert's █ █
█ █ kind of music, but "cry for a shadow," █ █
█ █ with its rich melody and sonorous █ █
█ █ guitar, was perhaps as close as this new █ █
█ █ music ever came to his own. the beatles' █ █
█ █ own sides didn't emerge until a couple █ █
█ █ of years later, when events made it █ █
█ █ economically feasible for do so, but █ █
█ █ kaempfert's recording of the beatles, █ █
█ █ even as a backing band for sheridan, █ █
█ █ proved a vital catalyst to their entire █ █
█ █ subsequent success. stylistically, none █ █
█ █ of the kaempfert-recorded sides closely █ █
█ █ resembled the music for which they █ █
█ █ became famous, and had their path to █ █
█ █ being signed by george martin at █ █
█ █ parlophone records resulted from, say, █ █
█ █ their being heard in a performance, █ █
█ █ those hamburg-recorded sides would rate █ █
█ █ nothing more than a footnote in their █ █
█ █ history ù but those polydor sides cut by █ █
█ █ kaempfert played an essential role in █ █
█ █ their story. as beatles biographer █ █
█ █ philip norman recalled in his book, █ █
█ █ shout!, on october 28, 1961, an █ █
█ █ 18-year-old printer's apprentice named █ █
█ █ raymond jones walked into the music █ █
█ █ store owned by brian epstein to ask for █ █
█ █ a copy of "my bonnie," recorded by the █ █
█ █ beatles (though it was actually credited █ █
█ █ to tony sheridan); the store didn't have █ █
█ █ it, but epstein noted the request and █ █
█ █ was so intrigued by the idea of a █ █
█ █ liverpool band getting a record of their █ █
█ █ own out that he followed up on it █ █
█ █ personally. thus began a chain of events █ █
█ █ that led to his discovery of the beatles █ █
█ █ and, through his effort, their signing █ █
█ █ by george martin to parlophone records █ █
█ █ (they first had to get clear of any █ █
█ █ contractual claim by polydor). it is █ █
█ █ possible, of course ù though unlikely, █ █
█ █ given the rawness of their sound even as █ █
█ █ late as 1962 ù that the group could have █ █
█ █ achieved success by some other means, █ █
█ █ but it is equally likely they would have █ █
█ █ developed a very different sound. █ █
█ █ ironically, by the time that the beatles █ █
█ █ were recording for parlophone, kaempfert █ █
█ █ had become so successful as a recording █ █
█ █ artist that he was forced to give up his █ █
█ █ duties as a producer ù his records were █ █
█ █ selling by the hundreds of thousands, █ █
█ █ the album of wonderland by night even █ █
█ █ topping the american charts for five █ █
█ █ weeks in 1961. by 1965, he'd joined the █ █
█ █ ranks of film music composers with the █ █
█ █ soundtrack to a movie entitled a man █ █
█ █ could get killed ù the title song from █ █
█ █ the movie became "strangers in the █ █
█ █ night," which frank sinatra propelled to █ █
█ █ the top of the american and british █ █
█ █ charts. he followed this up a year later █ █
█ █ with another hit for sinatra, "the world █ █
█ █ we knew (over and over)." for kaempfert, █ █
█ █ whose admiration of american music began █ █
█ █ with the big band pop sound whence █ █
█ █ sinatra had begun his career, those hits █ █
█ █ must have represented a deep personal █ █
█ █ triumph, transcending whatever money █ █
█ █ they earned ù indeed, he was selling █ █
█ █ records during the early '60s in the █ █
█ █ kind of quantities that rivaled tommy █ █
█ █ dorsey or harry james' successes 20 █ █
█ █ years before, and he'd proved himself a █ █
█ █ prodigiously talented composer as well, █ █
█ █ an attribute that few of the big band █ █
█ █ leaders possessed. and speaking of █ █
█ █ dorsey and james, kaempfert could also █ █
█ █ take pride in having been the first █ █
█ █ music professional to notice and, in █ █
█ █ effect, have "discovered" the beatles, █ █
█ █ much as james and dorsey had with █ █
█ █ sinatra in an earlier era, and much as █ █
█ █ tommy dorsey and jimmy dorsey had also █ █
█ █ been the first television personalities █ █
█ █ to book elvis presley. although █ █
█ █ kaempfert's chart placements faded by █ █
█ █ the end of the decade, there could be no █ █
█ █ disputing his impact on the popular █ █
█ █ culture of the 1960s, which was so █ █
█ █ widespread into so many different areas █ █
█ █ that few individuals appreciated its █ █
█ █ scope; teenagers, had they known of his █ █
█ █ role, could be grateful to him for █ █
█ █ giving the beatles that all-important █ █
█ █ first break, while their parents may █ █
█ █ well have danced to "wonderland by █ █
█ █ night" and its follow-ups, their older █ █
█ █ siblings might well have orchestrated █ █
█ █ their romantic endeavors to "strangers █ █
█ █ in the night," and television viewers █ █
█ █ and casual radio listeners might well █ █
█ █ have heard and hummed the kaempfert █ █
█ █ tunes "that happy feeling," "afrikaan █ █
█ █ beat," or "a swingin' safari" (which, in █ █
█ █ a recording by billy vaughn, became the █ █
█ █ theme for the long-running game show the █ █
█ █ match game). his success as a composer █ █
█ █ was reflected in the five awards that he █ █
█ █ received from bmi in 1968 for "lady," █ █
█ █ "spanish eyes," "strangers in the █ █
█ █ night," "the world we knew," and "sweet █ █
█ █ maria." kaempfert's chart placements █ █
█ █ vanished in the 1970s as the music █ █
█ █ marketplace (especially on radio) █ █
█ █ finally squeezed out the adult and older █ █
█ █ dance music listenership he'd █ █
█ █ cultivated. his records continued to █ █
█ █ sell, however, and his bookings remained █ █
█ █ healthy for another decade, and █ █
█ █ kaempfert piled up awards in germany. as █ █
█ █ he had with rock & roll, he also changed █ █
█ █ somewhat with the times ù when disco █ █
█ █ became popular in the mid-'70s, █ █
█ █ kaempfert recorded a disco version of █ █
█ █ isaac hayes' "theme from shaft" that █ █
█ █ even impressed the composer. his sales █ █
█ █ were always healthy, if not substantial, █ █
█ █ in america, but in europe he was still a █ █
█ █ top concert draw as well. kaempfert died █ █
█ █ suddenly, at the age of 56, of a heart █ █
█ █ seizure while at his home in mallorca, █ █
█ █ resting up after a triumphant british █ █
█ █ tour. in the years since, he has finally █ █
█ █ been recognized for the breadth of his █ █
█ █ achievements ù virtually his entire █ █
█ █ album catalog (and all of his hits) from █ █
█ █ the late '50s through the end of the █ █
█ █ 1960s remains in print on cd. █ █
█ █ additionally, kaempfert's recordings of █ █
█ █ the beatles have at last been given the █ █
█ █ recognition that they deserved, in the █ █
█ █ form of a bear family records box. █ █
█ █ additionally, his own music has acquired █ █
█ █ a new fan base in tandem with the █ █
█ █ late-'90s boom of interest in 1950s pop █ █
█ █ instrumental (i.e., "bachelor's den" █ █
█ █ audio) music, and "afrikaan beat" is █ █
█ █ arguably as popular as incidental music █ █
█ █ in 2003 as it was in 1965, as well as █ █
█ █ closely associated with that past in █ █
█ █ american popular culture, itself a great █ █
█ █ achievement for the bandleader from █ █
█ █ hamburg. █ █
░ ▓ █ █ ▓ ░
▓ ▒ █ greets : kw - cmg - sb - ftd - ube - diss █ ▒ ▓
█ ░ ▓ iMPG - igr - rac - SDR - AnUs ▓ ░ █
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▒ █ █ [ tracklist ] █ █ ▒
░ █ █ █ █ ░
█ █ CD1 █ █
█ █ █ █
█ █ 01.Wonderland By Night [03:13] █ █
█ █ 02.A Swingin' Safari [03:08] █ █
█ █ 03.Dankesch÷n [02:41] █ █
█ █ 04.Oh Mein Papa [02:33] █ █
█ █ 05.Red Roses For A Blue Lady [02:21] █ █
█ █ 06.That Happy Feeling [02:53] █ █
█ █ 07.Morgen [02:55] █ █
█ █ 08.Moon Over Neaples [02:37] █ █
█ █ 09.The Bass Walks [02:41] █ █
█ █ 10.Happy Trumpeter [02:38] █ █
█ █ 11.Tenderly [03:14] █ █
█ █ 12.My Way Of Life [02:43] █ █
█ █ █ █
█ █ CD2 █ █
█ █ █ █
█ █ 01.Strangers In The Night [03:20] █ █
█ █ 02.The World We Knew [03:31] █ █
█ █ 03.Catalania [02:09] █ █
█ █ 04.L-O-V-E [02:04] █ █
█ █ 05.Midnight Snack [02:45] █ █
█ █ 06.Blue Midnight [03:10] █ █
█ █ 07.Games Poeple Play [02:52] █ █
█ █ 08.Treat For Trumpet [02:12] █ █
█ █ 09.Afrikaan Beat [02:27] █ █
█ █ 10.Hold Me [02:55] █ █
█ █ 11.Bye Bye Blue [02:55] █ █
█ █ 12.Wiederseh'n [02:50] █ █
█ █ ------- █ █
█ █ 66:47 min █ █
█ █ 92,00 MB █ █
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▒ █ █ [ group notes ] █ █ ▒
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█ █ █ █
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█▄▒▄▄▄▄▒▄▐▓░ nfo+layout: z0oy0rk | Mar-15-2oo1 ░▓▌▄▒▄▄▄▄▒▄█
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---nfo edited with jane v.1.23.